Fri-Sat. DJ Mike Parker and DJ Mathew Jonson delighting the crowd with a rare electronic music DJ set.
Address Club opens at 22.00 and admission is €10. Via Levanna 9. Tel. 0682004382.
Club opens at 22.00 and admission is €10. Via Levanna 9. Tel. 0682004382.


Greenwich mean time or Greenwich meridian time (GMT), the former name for mean solar time at the original site of the Royal Observatory in Greenwich, England, which is located on the prime meridian. In 1925 the numbering system was changed to make GMT equivalent to civil time at the prime meridian, and in 1928 the International Astronomical Union changed the designation of the standard time of the prime meridian to universal time (UT), which is now in general use.
"Greenwich mean time." The Columbia Encyclopedia, 6th ed.. . Encyclopedia.com. 20 Apr. 2019 <https://www.encyclopedia.com>.
Greenwich Mean Time (GMT) Local time at Greenwich, London, situated on the prime meridian (0° longitude) that passes through the Old Royal Observatory. It has been used as the basis for calculating standard time in various parts of the world since 1884.
"Greenwich Mean Time." World Encyclopedia. . Encyclopedia.com. 20 Apr. 2019 <https://www.encyclopedia.com>.
Green·wich Mean Time (abbr.: GMT) (also Green·wich time) the mean solar time at the Greenwich meridian, adopted as the standard time in a zone that includes the British Isles.
"Greenwich Mean Time." The Oxford Pocket Dictionary of Current English. . Encyclopedia.com. 20 Apr. 2019 <https://www.encyclopedia.com>.
GMT • abbr. Greenwich Mean Time.
"GMT." The Oxford Pocket Dictionary of Current English. . Encyclopedia.com. 20 Apr. 2019 <https://www.encyclopedia.com>.
"GMT." World Encyclopedia. . Encyclopedia.com. 20 Apr. 2019 <https://www.encyclopedia.com>.
"GMT." The Oxford Dictionary of Abbreviations. . Encyclopedia.com. 20 Apr. 2019 <https://www.encyclopedia.com>.


text:
155. There's Always Something Happening and it's Usually Quite Loud
By James Stafford on December 15, 2013 • ( 5 Comments )
Our new apartment was the finished attic of an old Victorian on the outskirts of Savannah's historic district. It was one big open space with a bathroom added just to the left of the front door. This created a little notch on the opposite side of the bathroom that served as a kitchen. A large dormer on the front of the house was our dining room, which is to say that's where we parked the table Jody's mother gave us.
The table was one of the few furnishings we owned. The others included my drawing table and a couple of steel utility shelves, spray painted black and bowing beneath the weight of books, records, magazines, and art supplies. The last piece of furniture we owned was my parents' ratty old hide-a-bed couch. We stuck this at the end opposite the kitchen. Above our heads was a window that looked onto a church steeple. At night the steeple's stained glass lit up.
The walls hung at crazy angles, shooting up vertically no more than three feet then taking sharp turns to accommodate the roof's pitch. Little trap doors led into the unfinished turrets. We hung a Jim Morrison poster and tacked up a doodle now and then when they came out okay.
We shared the one tiny walk-in closet located to the right side of the steeple window. I lived out of a couple of drawers and Jody took the rest.
Our housemates included Mark, the first floor resident who kept to himself; Air Force Mike; and our property manager, Kristi, and her three year old daughter. The basement was open to all residents, but nobody dared keep anything down there. The cellar door had been kicked in repeatedly and no longer latched correctly. The front door was pretty screwed up, too.
Jody made new friends quickly, but between school and my new job at Record Bar I didn't want to do anything but lie under the steeple window when I wasn't working. "You're so boring," she said. "You never want to do anything."
"That's all I do is something, all the time. I just want to be here with you when I'm not," I said.
"Well I'm bored. I'm going down to River Street with Patty and Chris."
"Who's Chris?"
"Just some guy Patty knows. You should go do something."
The door closed, and I grabbed my guitar. Minutes passed and there was a knock at the door. It was my neighbor, Air Force Mike.
"Hey, Jody just knocked on my door and said you wanted to hang out. What do you want to do?"
"I was just going to hang out here. You want to come in?"
"Come on, man. I was going to go see my girlfriend. Come with me, it will be fun."
We jumped into Air Force Mike's car and drove into exceedingly more seedier territory. "Where does your girlfriend live?" I asked.
"We aren't going to her house, we're going to see her at work."
"Cool, where does she work?"
"A club."
"I'm not 21 yet," I said.
"It's cool, I can get you in. They know me there."
We pulled up to a nondescript, windowless building. Dance music thumped against the cinder block walls. A human mountain sat on a bar stool inside the front door.
"Hey, Tony," Air Force Mike said. "This is my friend, James."
"Five dollars each."
"Is Suki working tonight?"
"I don't know. Five dollars."
Inside the club was very dark. The dance floor was at the far end but nobody was dancing, just huddling around the small tables, looking bored. Air Force Mike bought us a couple of beers and said, "Come on, let's grab that table down there."
"All right," the DJ said. "Let's give it up for Sapphire," and he cued up Janet Jackson's "Nasty." A curvy blond woman about my age stepped onto the small stage. She wore a sheer robe and high heels. I turned around and surveyed the crowd: all men. That's how long it took me to realize where I was.
"Your girlfriend works here?" I shouted over the music.
"Hold on, just watch. Sapphire puts on a good show."
Sapphire jammed to her nasty groove while the nasty boys were thinking nasty thoughts. She was thick and sexy, bookish with hardly any rhythm. It didn't matter. She shrugged the sheer robe off or her shoulders and held it between her palms and her breasts. I was intrigued and titillated, but mostly I was uncomfortable. Sitting in a room full of erections was bad enough; sharing a table with my neighbor's boner was too much.
The song neared its end, and Sapphire dropped the robe to her waist. She dropped to her knees, leaned back and whirled the sheer fabric around like Stevie Nicks. Right on the last note she spread her arms and held the robe behind her like angel wings, eyes toward the ceiling and fully nude. The stage lights went dark and she was gone.
"Oh, she's going to be in so much trouble," Air Force Mike said.
"You can't do that."
"Do what?"
"Show bush. That's illegal. Oh, she's going to be in so much trouble."
After the initial thrill of being in the same room as a nude stranger wore off, I sunk into the same boredom as the rest of the guys in the place. We stayed for the full rotation of dancers, but Mike's girlfriend never appeared.
When Jody got home that night I leaned my guitar on the arm of the ratty hide-a-bed couch and said, "Have fun with Chris?"
"You hush. He's just some creepy boy who hangs out with Patty. What did y'all do?"
"Nothing much. Just hung out."
She turned off the light, took off her pants and slid into bed next to me. We curled up beneath our blanket of half-truths and fell asleep beneath the steeple lights.
Categories: Memoir, Music
Tagged as: Janet Jackson, Stevie Nicks
From the Stacks: Ian Hunter – Short Back n' Sides
What are You Doing to Save the Universe?
haha! I have never been to a strip club and I've always thought it had to be kind of awkward sitting around with a bunch of other people….like, not an erotic experience.
AlienCG says:
I went to one, and it was a more upscale place, but I have no desire to go back.
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La cantante Ariana Grande is on the cover of July 2018 issue of British Vogue. At first, I had to take a double look at the cover as Ariana is nearly unrecognizable. Gone is her trademark ponytail and brunette shade replaced by with long flowing dirty blond hair and she looks amazing.
In the photo shoot, she also ditches her signature cat eye and couture foundation look for a fresh-faced palate with a flushed rosy chill and pale pink lip. A very natural, barely there makeup look. You can even see a rare glimpse at her freckles.
See the full Ariana Grande feature in the July issue of Vogue, available on digital download now or on newsstands Friday, June 8th.
0 Responses to "Ariana Grande's New Look On Cover Of Vogue"


Posted 6:22 pm by David Firth & filed under Business Intelligence, Civil Liberties, Cyber Security, DoS/Denial of Service.
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text:
Q: Is it necessary to use useMemo in react table? I would like to know it's necessary to use useMemo in react table for columns and data if yes why it's so?
This is my code:
import React, { useMemo } from "react";
import useData from "../../hooks/useData";
import Table from "./Table";

import Loader from "../../assets/imgs/loader.svg";

const TableSection = React.memo(({ query, isOpen }) => {
  const { data, runtime, error } = useData(query);

  const column =
    data.length > 0 &&
    Object.keys(data[0]).map((key) => {
      const result = data[0][key]
        .replace(/([A-Z]+)/g, " $1")
        .replace(/([A-Z][a-z])/g, " $1");
      return {
        Header: result,
        accessor: key,
      };
    });
  const columns = useMemo(() => column, [column]);
  const queryData = useMemo(() => data.slice(1), [data]);

  if (error)
    return (

          Something Went Wrong{" "}

    );
  return (
    <>

        {data.length > 0 ? (
          <>

              Query took:{" "}
              {`${runtime.toFixed(2)} ms`}

          </>
        ) : (

        )}

    </>
  );
});

export default TableSection;

A: Yes, it is recommended to use useMemo.
The useTable hook takes the columns and if your component re-renders for whatever reason, a new columns array will be created (if useMemo isn't used) and useTable will recalculate the underlying logic unnecessarily.
btw, you're using useMemo incorrectly because column changes every time TableSection rerenders and it is used as a dependency to useMemo. If the declaration is moved inside useMemo, it only changes when data gets updated. So, this is how you should use it
const columns = useMemo(() => {
  if (!data[0].length) return [];

  return Object.keys(data[0]).map((key) => {
    const result = data[0][key]
      .replace(/([A-Z]+)/g, ' $1')
      .replace(/([A-Z][a-z])/g, ' $1');

    return {
      Header: result,
      accessor: key,
    };
  });
}, [data]);

redpajama_set_name: RedPajamaStackExchange


Home > Cuticle Treatment > CND Cuticle Eraser 0.5 oz.
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CND Cuticle Eraser 0.5 oz.
Conditioning blend of alpha-hydroxy acids (A.H.A.'s) micro-exfoliates cuticles and moisturizes nail plate and surrounding skin. Helps prevent cuticle build-up. Conditions skin and prevents hangnails.


Working as a server in a restaurant is a job like no other – interesting, fast-paced and different every single day. Not only are servers required to SERVE their guests, they are oftentimes tasked with making drinks or salads back-of-the-house, all with a bright smile. In order to maximize tips, and grow your regular clientele, servers should follow the below guidelines, whether you are a server in your first week on-the-job, or if you have decades of serving under your belt.
Spend some time with the menu, and get to know the ingredients. Be prepared to tell your guest which are your favorite items, and popular menu items for the restaurant. "Be honest to a fault and be REAL about your favorite dishes, as guests want the inside scoop," says Susan Cole, a server at the Angry Crabshack (Mesa, AZ). Know which items are new to the menu, and if there are any items that have been removed recently. In analyzing the menu, keep in mind the allergens that are common in today's world – such as gluten and peanuts. If there are daily specials, be sure to know if they contain the common allergens.
Whether you are working at a big chain or an independent restaurant, your appearance is important to the business overall and to your customers. So be sure that your clothes are clean, whether you wear a uniform or street clothes. "If you wear street clothes, stay within the vibe of the restaurant – we have a 'backyard cool' vibe and I wear trendy jeans with my work shirt", says Cole. In addition, keep your hands and nails clean, as customers will notice dirty nails, which will detract from the food and the overall experience. Lastly, shoes are an important part of being a server, as this job involves being on your feet for long periods of time. Make sure that your shoes are comfortable as well as professional, and that the laces are tied tightly. Untied laces look unkempt, and can be a tripping hazard.
Once guests are seated at your table, be sure that you interact with them as soon as possible. If you are in the process of serving another table, try to make eye-contact with a smile, so they know that they are important to you, and that their needs will be met shortly. Once at the new guest table, be sure to introduce yourself, and check to see that they have appropriate silverware and napkins, along with the menu.
As soon as you have greeted the guests, ask them if they would like water. Even if they are ordering other drinks, from colas to alcoholic beverages, guests appreciate the offer. Once the beverage order is complete, ask the group if they would like items to accompany the beverages, such a lemon or sugar. "It's all about attention to detail", claims Chris Conlan, a server at Ledo's Pizza (Countryside, IL). "With the lemon, be sure to ask if they want it on the side or in the glass", continued Conlan. Once the food orders have been given to the kitchen, bring out all of the accompaniments before the food is served. For example, if the guest orders pancakes, bring syrup and butter to the table beforehand, so the guest is not waiting for syrup with their hot pancakes.
When you are serving a table with small children, be sure to remove silverware, especially knives, from their area. Also, be very careful with hot beverages, and place those types of beverages far out of reach. Conlan suggests to "put drink lids on toddler beverages" as parents will appreciate the effort to avoid a spill.
Before you deliver the food out to your guests, be sure everything is correct. Don't just make sure that the items are correct – but look to see that they are cooked correctly. If a guest ordered a well done steak, be sure it does not appear medium rare.
Once your guests have had their first few bites, stop by and ask how everything tastes, and inquire if they need anything else for the meal. Take this time to check glasses, and see if they need refills or another beverage. Once the guest finishes their food, ask if you can remove their plate. Never start removing dishes with food on them, unless the guest specifically asks for it to be taken away. Once the guests have finished their food, be sure to suggest dessert, and provide a few details on a dessert favorite.
Once the guests are getting ready to leave, be sure to thank them, and invite them to come back again soon. "Show them your appreciation for spending their time and money at your restaurant," Cole stated. "And if you don't have a poker face, don't look at the tip while the guests are still in the restaurant!", says Cole as one final tip.
Following these steps day in and day out will increase your tips and your overall ability at your job. Have fun making more money, and developing regulars. In addition to the starting your career as a server, there are other entry-level jobs within the foodservice industry to explore, such as a host or a hostess or a line cook back-of-house.


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Kamala Devi from the San Diego cast of Polyamory: Married and Dating hosted a Viewing party which included the director, Natalia Garcia, Tahl Gruer, Jennifer Gold, Michael McClure, Vanessa from the Riversiede family and live performances from Tantra Theater (www.TantraTheater.TV) With an audience of over 100 people, we watched the season Premire and did live Question and Answer session afterwards.
The audience had wonderful questions such as: how real is it? How did the director find the families. How does it feel to be out to the whole world? What was our favorite part of the process, as well as what was the hardest part!? We took a video and if you are interested in the answers to some of these questions, and have more of your own, please let us know in the comments below.
Photos by Electric Rick Raney.


text:
Archive | Artie Lange RSS for this section
in Artie Lange, Howard Stern, Jackie Martling, Satellite Radio, Sirius, Z-List Celebrities
Jackie Martling Sirius rumours
Speaking of Z-List Celebrities: have you ever heard of Jackie Martling?
Jackie is an old Howard Stern Show stalwart who purportedly quit the show because of money differences. According to Howard Stern he's one greedy bastard. Apparently, during a contract negotiation while Howard Stern was on terrestrial radio, Jackie "the Jokeman" Martling requested more money than Howard Stern himself was earning and refused to go on the air. Well that was that, Martling hasn't been on the show for almost 9 or 10 years and his spot his instead been taken up by the morbidly obese Artie Lange.
This is all, by the way, only interesting to Howard Stern fans, so if you are not one you are probably wondering about who cares about crap like this.
Well I used to be into Howard Stern quite a bit, so it's interesting that now Jackie Martling is reported to be signing a deal to have his own show on Sirius. Some kind of talk hour where he will no doubt hock his crappy joke wares like joke toys, mugs, and rubber bananas.
Who cares right? Well the interesting thing is that he's going to get on channel 101 on Sirius, which is one of two channels allotted to Howard Stern. What does this tell me? It tells me that things aren't going so well for Stern. It's not enough that the channels are constantly filled with replayed shows and boring banter with retarded people, he has to bring in untalented former comedy writers to fill in his programming.
Indeed, this follows on news of Sirius subscriptions not growing at quite the nice clip they were for the first quarter of 2006 and the rumours of stock problems and Howard Stern's own purported worries about the health of his Show.
So we have to wait and see whether the Jackie Martling rumours are true. And if they are, what does this mean for the end of Stern's career and his slide into obscurity?


DIRECTV.com/Recycle provides instructions on how to drop off a used DIRECTV electronic device at any Goodwill location near that participates int he program. Those who are not lucky enough to live and play in the Centennial State can print a mailing label and ship the bothersome equipment to the Goodwill in Denver for free. Please note AT&T works hand in hand with the ever popular Goodwill Industries of Denver in order to ensure used electronics can go into job skills training locally and support responsible recycling effort in order to make the planet a better place to live for future generations. Any questions in regards to DIRECTV.com/Recycle can be directed to 6850 Federal Boulevard Denver, CO 80221 or by phone (303) 650-7700 (between the hours of 8 am to 4 pm MT Monday to Friday) or via email to tturner@goodwilldenver.org.
Goodwill Industries International Inc., is a Maryland based nonprofit 501(c)(3) organization founded in 1902 out of Boston MA by Reverend Edgar J. Helms. The Goodwill is currently headquartered at 15810 Indianola Drive Rockville, Maryland, United States 20855 and has served more than 35 million people.


You can opt out of receiving our marketing emails. To stop receiving our promotional emails, please email unsubscriber@intellemo.com. It may take about ten days to process your request. Even if you opt out of getting marketing messages, we will still be sending you transactional messages through email and SMS about your purchases.


text:
Why You Need to See Seattle Opera's 'Carmen'
Especially if you've never seen an opera—but if you have, this production offers a subtle new take on its sexual politics
| Updated: May 7, 2019
Sunny Martini
Ginger Costa-Jackson as Carmen
First, the piece itself: Georges Bizet's 1875 opera boasts some of the most seductive and adhesive music ever written for the stage—it's all hooks from first bar to last. It boasts a whistle-able musical idea around every corner, gripping set pieces from emotionally expansive and unreserved arias to grand choruses, and sparkling, transparent orchestration that provides its own allure. I guarantee you'll recognize at least three of the tunes, even if you have zero experience with opera, and many more will probably sound familiar.
In a genre notorious for convoluted plots, Carmen's is clear-cut, almost unprecedentedly: Soldier Don Jose falls for the passionately independent Carmen, but they're pulled in opposite directions—he by Micaela, a young woman from back home (who adroitly plays the mom-misses-you card) and she by the glamorous bullfighter Escamillo, with whom she hooks up when Jose gets too clingy. Tragedy ensues.
You also need to see it because of what Seattle Opera, in a production directed by Paul Curran, is doing with it. Carmen has been open to criticism for perpetuating the femme-fatale stereotype, especially problematic here considering its heroine is commonly identified as a "gypsy," which adds racism to sexism: Carmen is the other in two senses, and thus doubly dangerous. (The libretto, by Henri Meilhac and Ludovic Halevy, uses the euphemism "bohemien," rendered in English as "Bohemian" in Jonathan Dean's sharp and witty supertitles.)
But this production, which opened Saturday night (May 4) and runs through May 19, provides an object lesson in how to get around this. The key is simply how the leads approach their characters—and in Ginger Costa-Jackson and Frederick Ballentine, Seattle Opera has the most real, most convincing Carmen and Jose I've ever seen. (Zanda Svede and Adam Smith takes the roles in the production's alternate cast, and Ballentine, unbelievably, stepped in for ailing tenor Scott Quinn on just a few days' notice.)
What difference does this make? This opera's sexual politics become the more untenable, of course, the more it's suggested that Carmen in any way deserves her fate. This production makes it clear that the more Carmen is played as a relatable person and less as a symbolic archetype, the less culpable she seems for "making" Jose snap. Here, his emotional collapse, from Act 1's Boy Scout to Act 4's demented killer, is not played as something that Carmen does to him; not every Carmen I've seen makes so shrewd a distinction. No victim-blaming here: SO's Carmen is a piece about one man's pathetic inability to deal with a strong, self-determining (as opposed to callously manipulative) woman, and the destructiveness that results.
It's a gorgeous production, too. Gary McCann's costumes and billboard-dominated set seem to place the action around 1950 and possibly in Cuba. He reinvents Escamillo as James Dean (or Andrew Dice Clay if you're feeling ungenerous), decked out in leather jacket, white T and dungarees. Rodion Pogossov was engaging in the role, though not quite enough to distract me from disbelieving that a star matador, the proudest of men, would ever appear in public dressed like that. Vanessa Goikoetxea deployed her strong soprano to reveal what's really under Micaela's timid exterior, and, after her Act 3 aria, earned the night's loudest ovation for it. All in all, it's SO's most thoroughly successful show since last summer's dazzling Porgy and Bess, and I encourage you not to miss it.
Times and prices vary. McCaw Hall, Seattle Center, 321 Mercer St.; 206.389.7676; seattleopera.org


text:
« Black Christmas (1974) - Blu-ray Disc | Main | Evil Dead II (1987) [The Book of the Dead Limited Edition] - DVD »
The Evil Dead (1982) [The Book of the Dead Limited Edition] - DVD
****/**** Image A Sound A+ Extras A+
starring Bruce Campbell, Ellen Sandweiss, Richard DeManincor, Betsy Baker
written and directed by Sam Raimi
by Walter Chaw The Evil Dead defies wisdom: It's an ultraviolent horror film made on a nothing budget (rumoured to have been in the neighbourhood of three-thousand dollars) that still manages to produce an enduring and brilliant performance and demonstrate (like a Dario Argento shocker) that gore, if it's perverse enough, can be the beginning and the end of horror. The product of Bruce Campbell's hilariously physical turn, of Sam Raimi's genius in fashioning dazzling camera moves, and of an uncredited Joel Coen's flair at the editing table, The Evil Dead bristles with life and joy. It is a testament to how bliss and the spark of inspiration can elevate a film of any budget in any genre from routine to sublime.
English DD 5.1 EX
English DTS-ES 6.1
Buy This at Allposters.com
Ash (Bruce Campbell) is a schmuck whose only talent appears to be killing zombies, thus making The Evil Dead a coming-of-age film in an odd sort of way. He takes his girl Shelly (Sarah York) and three of their pals into the woods for a romantic weekend. Before long, artist Cheryl (Ellen Sandweiss) channels a mysterious force that compels her to sketch a book with a face on the cover, a "Book of the Dead" (the original title of the film) bound in flesh and residing in the cabin's cellar with a reel-to-reel recording of an archaeologist translating the text therein. The idiots of course play the recording, summoning the titular dead to possess each of them in turn.
Using mostly ambient noise, The Evil Dead opens with a riotous near-accident that sets nerves on edge before segueing into a long tracking shot of a car driving towards an ominous structure. Comparisons to Kubrick's The Shining are extremely interesting, particularly in the usage of sound in the banging of a porch against The Evil Dead's cabin as set against the rumble of Danny's Big Wheel in The Shining. As jock archetype Scotty (Hal Delrich) first examines the interiors of the dusty cabin where the film will find its setting, Raimi makes the interesting choice to allow his silent reactions to the Texas Chain Saw Massacre-esque interior to carry the establishment of dread. The reserve of the first act of The Evil Dead is a marvellous counterpoint to the unfettered bombast of its final hour and speaks to the first-time director's cinematic competence.
As the supernatural events escalate after a relatively sedate half-hour (including a simply fantastic sequence involving playing cards), The Evil Dead finds a hyperkinetic rhythm that continues through to the last shot. Although mainly remembered for its gore, The Evil Dead spends fully half its running time in presenting the isolation of the cabin while inexplicable point-of-view shots announce the presence of an invisible voyeur. When the bloodletting commences (and it does commence in earnest), The Evil Dead has already demonstrated that it's a far cannier suspense vehicle than appearances would first suggest.
Throughout this blood-dimmed haze, there remains a spark of wit, a dry sense of humour that revolves around Ash's tendency to get pinned beneath bookshelves as the ghoul slouches towards him. (In one inspired scene, Cheryl says, "I know the car won't start! It won't let us get away!" just prior to the car roaring to life.) The Evil Dead is not so much indulging in its charnel as commenting upon it. More than a decade before Kevin Williamson's Scream made that kind of reflexivity passé in regards to the slasher picture, The Evil Dead provided that which remains the definitive auto-analysis of the splatter picture.
The image that stays with me from The Evil Dead is of a movie projector flipping on to the accompaniment of a ragtime ditty blaring from a phonograph, a grue-smeared Ash framed in its blank glare as blood drips over the lens. Here The Evil Dead encapsulates its visceral horror, its sense of absurdity, and its visual genius. The film is intelligent, scary, and funny, never underestimating or belittling its audience and providing what is possibly the most influential American independent since George Romero's Night of the Living Dead. Decidedly not for every taste, The Evil Dead is one of the smartest and best movies of the Eighties.
After Elite's The Evil Dead: Special Edition DVD of a couple of years ago, it seemed as if the door had finally closed on Sam Raimi's opus for the format. When Anchor Bay announced that it had licensed the title and was preparing its own limited collector's edition, however, I met the news with a great deal of excitement: Anchor Bay is the horror cultist's best friend, a company that treats euro-horror and low-budget splatter classics to first-rate AV transfers, an astonishing depth of special features (not the least of which spectacular filmographies), and a laudable dedication to completing libraries of obscure, sometimes impossible-to-find titles. Anchor Bay's The Evil Dead: Book of the Dead Limited Edition is destined to be the most sought-after DVD incarnation of the film.
The packaging is a 6"x 8" rubber and latex-paint number created by Tom Sullivan (the designer of the books used in the film trilogy) that simulates the "flesh-bound" hell tome with a gaping face on the front and a disembodied ear on the back. The interior features ten heavy-bound pages that beautifully reproduce the blood-inscribed drawings and Sumerian text glimpsed briefly in this film (and at the beginning of Evil Dead II), as well as a twenty-page inset booklet written by Michael Felsher detailing the many home video releases of the film. It smells like a gas station, but it looks amazingly nifty and has a place of high geek honour on my bookshelf.
This disc's 1.78:1, 16x9-enhanced transfer is wonderfully bright and well-contrasted, remastered from the original 16mm negatives. The film looks as good as modern technology will allow without actually corrupting the nature of the source elements and, given their decidedly low-fi origins, the quality of the picture is astounding and free of digital artifacting. Crucially, black and shadow levels allow for a clear platform for all of the nocturnal shenanigans. The THX-certified surround remix, in 5.1 Dolby Digital EX and 6.1 DTS-ES options, is the real star of the show, expanding the audio domain of the presentation into an immersive and startling environment. The LFE channel gets a rumbling workout and the rear speakers chime in with rustling leaves and other ambient effects.
The Book of the Dead LE provides jovial and entertaining feature-length commentary tracks from Raimi and producer Robert Tapert, and then Campbell in a separately recorded track (which is disappointing because Raimi and Campbell's co-yak tracks for Evil Dead II and Army of Darkness are classics). The commentaries are transplanted from Elite's special edition DVD--worth the revisiting, but collectors take note. In addition to an 18-minute outtake reel (misleadingly named as it's more composed of B-reel footage than gaffes), also transplanted from that same version, Anchor Bay offers two new documentaries: Bruce Campbell's 26-minute "Fanalysis" and the fascinating 13-minute "Discovering The Evil Dead". Campbell's documentary follows the actor as he muses on the nature of fandom during his recent book tour. Its funny, if nothing we haven't seen in stuff like Trekkies. "Discovering The Evil Dead" traces the early days of the film as it was shepherded by Palace Entertainment (Nik Powell and Stephen Woolley). Public outcry, brief "video nasty" status, and a sterling Stephen King endorsement are also covered.
The handsome and superlative package is rounded out by a nice new trailer, four vintage (meaning "grainy") thirty-second television spots, an extended stills gallery, the THX Optimode test, and then there are those edifying Anchor Bay filmographies provided by Jay Marks and Mark Wickum that go far above and beyond the call of duty. Must reads, all, they go into such stunning depth (complete with pithy quotes and hilarious anecdotes) that they are themselves indispensable to the DVD. Originally published: February 21, 2002.
Posted in ****/****, 1980s, Authors: Walter Chaw, Directors: Sam Raimi, DVD, Horror, Zombie | Permalink


Chicken, rice, pico de gallo, & avocado in a rich garlicky chicken broth, served with tortillas.
Tomatoes, onions, chicken, rice, a sliced hard-boiled egg & cilantro in a rich garlicky chicken broth, served with tortillas.
Drizzled with sour cream and cilantro, served with tortillas.
With chipotle, served with tortillas.
Baby greens combined with seasonal vegetables & feta cheese.


Where do you get your butterfly wings from to use in the jewellery?
We offer wholesale all across Canada. Our butterfly jewellery is carried in stores all across the globe.
The wings used in our jewellery are from butterfly farms around the world. We are able to keep up with high demand because butterflies have a short life span. Some live for a couple of days, although most live for 2-3 weeks. No butterflies are harmed or killed purposely to make our jewellery.
What different types of butterfly jewellery do you make?
Using butterfly wings we make earrings, necklaces, bracelets and key chains using single or all four wings to make a complete butterfly.


text:
This API allows you to connect to the AutoCheck system in order to request the vehicle history report for a given VIN.

*This is not the official API provided by AutoCheck.*

### Example Usage
```php
<?php

require 'vendor/autoload.php';

// Set AutoCheck Account Credentials
$account = new AutoCheck\Account('Customer ID Here', 'Password Here', 'Secondary Customer Id Here');

// Optional: You can change your language for the report, the default is English.
// $account->setLanguage('ES');

// Instantiate Object
$AutoCheck = new AutoCheck\GetLink($account);

// Return AutoCheck Report
echo $AutoCheck->requestLinkForVin('VIN Goes Here');
```

### Possible Error Messages
```
Message:
This is a restricted site

Cause:
IP getting blocked

Action:
Contact AutoCheck to provide your development and production web servers IP to grant access
```
```
Message:
We are sorry, but the vehicle history report cannot bedisplayed at this time. Please ask the dealer for a copy of an AutoCheck report for this vehicle.

Cause:
Incorrect paramter OR CID, SID, password have expired

Action:
Check CID/PWD/SID/VIN to make sure the parameters are passing correctly and that they have not expired. If you still receive this message with the correct parameters, then contact AutoCheck for further troubleshooting.
```
```
Message:
AutoCheck has located 0 records for this vehicle.

Cause:
No history records

Action:
At times we don't have history on new model year vehicles. No further action needed.
```

redpajama_set_name: RedPajamaGithub


"Domestic Punk" will act like she means to cut you. She will take a dramatic, hissing swipe -claws extended. Though her aim is precise, she never makes contact. It's just a show.
Maybe the start of a new (on and off again) series I will call "character cats." ...this painting is a practice run.
I think this will make a great series. Cats with loads of 'tude'. What's not to love.
Oh Diane! Fantastic! I love that hair and the eyes! Can't wait to see more of this series.
Heh, this is daft fun =) More, please!
I love her! Looks like you had so much fun with this one - bring on more character cats!
"Character Cats": we've all met them. So nice to see your interpretation of these characters. Keep up this series...love it!
Adorable! And it's clear there's a cream puff behind all that ferocious 'tude'... and you captured that perfectly. Just love this!
What fun.. and they do all have their very own and interesting personaliteis!


Find out how to request a pickup by STORE.
Please see How to Process a Damaged Package or Shipment.
Please see Compressed Gas Cylinders Overview.
Please see How to Recycle Your Empty Toner Cartridge.
Contact us through ASK (login required).
Call the Supplier directly, provide the PO number and identify the item(s) for return and obtain a return authorization number (RMA or ATR number).
From the Marketplace home page locate the link "Return Pickup Request (MSS)" in the box titled UC San Diego Goods and Services, and fill out the Return Pickup Request form.
On the form, you will need to have your orginal PO number, RMA or ATR number from the supplier, and your index number.
Contact the vendor directly and obtain a Return Merchandise Authorization (RMA) number.
Please see How to Complete a Shipping Memo.
To ask questions, request a service, or report an issue, contact us through BFSupport (login required) or 858-534-5650.


Hip hop artist Lil Uzi Vert made waves earlier in 2017 with his triple-platinum single "XO Tour Llif3." As with many artists' debut albums following a hit single, Luv is Rage 2 strives to hit the same mark as its single with varying degrees of success.
The album opens with "Two," a droning filler track, but then immediately drops its first banger, "444+222." The high-energy beat and commanding chorus make it easy to dance to. Uzi transitions seamlessly between the tense chorus and the release of quirky, melodic verses accompanied by a light-hearted synth pattern. This one is made for the club.
"Sauce it up" aims to replicate the success of "XO Tour Llife3," but falls shy of its target. "No Sleep Leak" comes a bit closer. Its catchy, melancholy chorus and slapping 808s make this track stand out, and put it in a parallel lane to "Tour Llife3." The track brings out the best of Uzi's sing-songy trap style, and its vocals capture Uzi's desperation.
Another standout, "The Way Life Goes" brings out Uzi's rockstar side. Melodic and driven by a rolling synth line, it strikes at the core of Uzi's heartache and is a great benchmark of Uzi's stylistic direction: A murky area between glam rock and southern trap.
"For Real" is experimental—which is commendable—but delves too far away from Uzi's usual style. It sounds like Uzi took every unusable synth preset he could find and rapped over them.
"Feelings Mutual" is the best new track on the album. The swung synth and 808s are completely new to mainstream trap production; Thank you WondaGurl, of Brampton, Ontario. The bass hits just right, the chorus comes in strong, and Uzi puts actual work into the track's angsty verses. This is peak Uzi.
"Neon Guts" is just as strong. The bassline combines SoundCloud rap's characteristic distorted 808s with a funky riff. Pharrell's voice melts into the instrumental, and Uzi's singing manages to hold his own weight. Its one of the most unique and replayable songs on the album.
This is where the album fades for me. Uzi follows it up with "Early 20 Rager," an experimental letdown, "UnFazed," a waste of a Weeknd feature, "Pretty Mami," which features a worthwhile chorus, but not much else, and "How to Talk," which goes on for way too long.
Then, the listener reaches an oasis. You're going to hear "X" slapping from car stereos. This track could have easily been a single. "Malfunction" and "Dark Queen" finish the album strongly. The latter, an anthem to Uzi's mom, is one of the most lyrical and sincere tracks of the album, albeit a bit too drawn out.
And, finally, "XO Tour Llife3" caps the project. Compared to the rest of the album, this track feels the most organized. Uzi is a creative storm that needs to be balanced with a clear musical formula, and of all of the tracks on Luv is Rage 2, "XO Tour Llife3" does this the best.


How to make a business plan, an easy business plan tutorial that's NOT so boring you want to die!
People who accept it (the ocean, a bubbling brook.
Your feelings and what undermining your positive attitude myself that.
Claim to be US based, but actually come from completely different parts of the trust other people's perceptions and.
Try to maybe do something, but that.


A little over a month ago, Blizzard Entertainment launched their seventh expansion for World of Warcraft, Battle for Azeroth. Now that the initial time gating is over and all of Battle for Azeroth's advertised launch features are live, it's time to take a look at them and see how well Blizzard hit (or missed) the mark with them.
I should clarify that this isn't a review so, therefore, it will not be given a review score. Battle for Azeroth is far from over as we have about a year and a half left before we see all of the patches and content. New or current features could be added or changed which would end up affecting a review score. This is why simple thoughts are being offered on what has been given to us thus far.
The first thing you'll probably do in Battle for Azeroth is embark on your journey to level 120. Battle for Azeroth features six brand-new zones divided evenly between Horde and Alliance players. The Horde gain access to the continent of Zandalar which houses the Zuldazar, Vol'dun, and Nazmir zones. Alliance gain access to the continent of Kul Tiras which houses the Stormsong Valley, Tiragarde Sound, and Drustvar zones.
Much like in World of Warcraft: Legion, each zone has its own unique story told through quests and incredible in-game cinematics. The Horde and The Alliance received one major story for their factions on top of the individual smaller stories found throughout the zones. The story aspect was top-notch; however, the questing content failed to hit the mark.
The problem with this was that there were fewer zones to quest through despite there being more overall zones than the previous expansion. In Legion, both factions had access to the same four zones and a fifth end-game zone whereas, in Battle for Azeroth, you're limited to only three zones while going to the enemy continent briefly once you unlock the War Campaign in the middle of your leveling experience. This means that zones were PACKED full of quests in such a way that you were practically begging to move on to a new area by the time you finished a zone. It didn't really feel that way in Legion as each zone's pacing felt well-balanced. Here, it seems that zones were crammed full of quests for the sake of trying to pump enough experience into a character to make sure they hit 120 by the time they nearly completed the third zone. They could have easily eliminated a good majority of the quests and simply offered a higher experience reward to make the zones feel more streamlined.
The length of each zone was the only major drawback to leveling. Some minor drawbacks pertained to quest uniqueness. If you've done a quest before in the history of this game then these new batches of quests are not going to feel any different. There's still you're average "go here and kill x amount of this creature" or "go collect these sacks of grain because we can't be assed to do it ourselves" quests littered throughout and with the exception of a handful of them, none of them really stood out as being all that memorable.
World Quests have returned in Battle for Azeroth and if you've played Legion, then you're not getting anything new here whatsoever. Every day, you get an emissary quest to go complete four (or three in the case of the Tortollan Seekers) quests for that specific reputation and gain access to a 400 artifact power token, 1,500 reputation for that faction, as well as another reward which can be gold, war resources, or a shiny piece of gear.
The system is not new by any means. The world quests are simply just select quests you leveled through, just like it was in Legion. Honestly, I am over World Quests. I was bored with them by the time Patch 7.1 hit servers back in Legion and I'm bored with them now and we haven't even made it to 8.1 in Battle for Azeroth. The World Quest system worked for a while in Legion because it was something new and fresh but once you realized that it was nothing more than a rep grind fest that offered very little in terms of rewards at the end game if you were a raider, World Quests became something you could completely ignore. Given the redundancy of World Quests as they are, it's something people are beginning to ignore a lot sooner than Blizzard probably intended.
There needs to be more variety in the World Quests themselves. I know development takes time and its fine to repeat some of the more memorable quests from your leveling experience but World Quests shouldn't solely rely on those for content. New, exciting, unique, and memorable quests should have been created for this system. Tie some lore into them that coincides with the game's main story, offer more rewards such as the low chance a rare quest spawns that rewards a pet, or a mount, or something to get excited over. Heck, you could even take it a step further and create a new tier of World Quests that offered raid bosses… and I mean more than the one that spawns every Tuesday… to create an option open-world outdoor raid that all players could enjoy. Creating outdoor shared content is a way to build community, which is a vital component to any MMORPG.
Imagine that while these world raids were up, you could get a group of players together and just farm raid trash as a group. Farming the trash could offer bonus artifact power, rare drops such as BoE raid gear, pets, mounts, etc. that were only available during the time that world raid event was up. Maybe there are essential items needed for crafting that come from these mobs. There are many options Blizzard could have gone with in a system like this that gave players an option to either farm outdoor raid trash for rewards or kill bosses. With these events being up for a limited time, it would encourage the player base to come together as a community and do the content or to give guilds something to do together. A full raid set of gear doesn't have to come from this content… heck, it doesn't even need to contain gear. It just needs to make the world feel like it's alive which is something Blizzard has struggled with where other games have succeeded in that area.
Hell, more world events, in general, would be nice. Especially if some of the development team members or community managers directly participated in them.
In Legion, Blizzard came up with a concept to have players get one weapon at the start of the expansion and then keep that weapon until the very end. Your weapon would grow with you as you gained Artifact Power to level it up and with each level, you gained access to new talents and traits that altered your class' playstyle, giving each class and their individual specializations a unique feel and identity.
Those weapons are gone and have been replaced with a necklace known as The Heart of Azeroth and while the system is similar in the fact that you grind out artifact power so that your necklace can gain levels, the way the talents work is completely different.
Blizzard pulled a bold move and decided to eliminate a staple feature that has been in the game since its launch in November of 2004: they got rid of class set gear. If you're unfamiliar to World of Warcraft, each time a new raid tier came out, there were sets of gear you could collect. Since I play a mage, I'll use that as an example. The first raid set for a mage was the Arcanist Regalia. It consisted of eight pieces of gear and when you collected certain amounts (two pieces, four pieces, etc.), you gained additional power and/or abilities. The next set to come out was the Netherwind Regalia and this continued all the way up until the Legion expansion pack. As time went on, the number of pieces you could collect went from eight or nine down to five or six.
Now, they are gone completely in favor of Azerite Armor which takes up your Head, Shoulders, and Chest slots. The upside is that, normally, with class sets, your bonus abilities were set in stone and dictated by Blizzard. The two new abilities you got were the ones you were stuck with. With Azerite Armor, you can gain access to a pool of talents that you can choose from with different talents being on different pieces of gear. This allows you to customize your set bonuses, gaining access to up to NINE different effects. If two pieces of gear had the same talent, you could even stack them to improve their effectiveness. Sounds amazing on paper, right?
Well… the problem lies in the fact that higher pieces of Azerite gear require a higher level on your Heart of Azeroth to unlock talents. If you have your Heart of Azeroth at, let's say, level 10… then you should be able to unlock a good portion of the talents on questing gear. If you didn't level your necklace and you jumped into a raid and earned a piece of Azerite gear from there, chances are you can't use any talents because your neck isn't high enough yet to unlock them. This means a piece of gear with an item level of 355 could end up being worse than a piece of gear with an item level of 325 because you're missing all of those talents.
Granted, there is a catch-up mechanic in play where every Tuesday, the amount of artifact power you need per level decreases by 30% but it doesn't solve the issue that artifact power is a boring and uneventful grind. This is a problem that Blizzard (namely game director Ion Hazzikostas) said that they are looking to rectify but they never stated just how they intend to do that at the time of this writing. On top of the artifact power problem, talents are completely imbalanced right now. Each piece of Azerite armor as a pool of general talents that all classes can use as well as class talents made for each of your specific specializations. The general talents ended up being more powerful than the class talents so much to the point where class talents are barely chosen. This doesn't make gameplay interesting as everyone is falling into the cookie cutter scenario of picking the best general talent and moving on.
The class talents themselves are also a far cry from Legion's artifact weapon talents. They barely, if at all, change your gameplay style or make your specialization feel unique. It's usually just an "x ability does more damage if…" talent and that's not very interesting at all. I'm all for more damage but at least do something to where I'm not just sitting there spamming Frostbolt while waiting for a Brain Freeze or Fingers of Frost proc until my Ebonbolt comes off cooldown.
Another drawback is the fact that there are no appearances to collect. In Legion, your weapon could earn alternate appearances by completing quests, killing raid bosses, completing the Mage Tower challenge, finding hidden appearances, etc. You had a ton of choices to customize the look of your weapon but since we're dealing with a necklace this time around, a gear slot that has zero graphical representation on your character at all, there's no way to customize the look of it. Why not have the Heart of Azeroth have some sort of aura or particle effect on your character while wearing it and offer different auras throughout the game? Imagine an icy aura for Frost Mages, or have your gear dripping in blood for Blood Death Knights, or maybe a halo for Holy Priests, skittering light runes for Holy Paladins, etc. Some people care about appearances and that could have given them something to do in between content all while further customizing the look of their character.
Island Expeditions is a brand-new(ish) feature added to Battle for Azeroth. It may have a smokescreen of advanced enemy AI or procedural generation to make you believe this is a new feature; however if you look carefully, this feature is simply the Legion Invasion Point feature from patch 7.3 on Argus. In 7.3, you would go into a portal and be taken to a "different world" (which consisted of one single solitary confined space). You would kill a bunch of stuff, kill a boss, and be done with it.
Island Expeditions are exactly that, except everything you kill gives you Azerite. Collect a certain amount of Azerite before the enemy team and you win. There's also quests and events that happen to make them feel more alive which also give you Azerite but the lack of variety is really killing this feature in a hurry.
Blizzard promised procedural generation but the only thing that really changes on the island are the enemies that spawn at the beginning and the type of enemy that invades the island around the 80% completion mark. Aside from the type of enemy, there's no real difference here at all. You're still killing enemies, killing rares, looting chests, mining nodes, and completing the same four quests over and over again. For a feature that boasts procedural generation with the promise that each Island Expedition will feel different, they sure seem to all follow the same formula and don't really feel any different whatsoever.
The azerite detector is still going to go "barmy" and spawn the same azerite elemental at the same point each and every time, the invading forces, which contain rares and chests to loot, will still invade at the same point, and the same four quests will spawn which consist of three of them finding an item that's always relatively close by to save a person or that one quest where you just click on the guy that needs saving to complete it. Not to mention that the rewards for doing the Expeditions are EXTREMELY lackluster. Promises of pets, mounts, or cosmetic items isn't enough to keep players coming back.
Every week, once you collect 40,000 azerite, you are rewarded with a 2,500 artifact power token. People typically grind out however many island expeditions they need until they fill that bar then they don't give them the time of day. Heck, some are just not doing them at all because they are uninteresting and boring. The sad part is that game director Ion Hazzikostas flat out stated that he's fine with that. He thinks it's okay for people to get their weekly quest done and then not touch a feature the development team took months, or possibly even a year to build.
Island Expeditions need an overhaul. Make certain enemies feel unique. Right now, non-elites, elites, and rares all reward the same azerite for their respective types. Why not have some enemies unique to that island reward more? Say you discovered a lava pit and in that pit were some fiery panthers that were unique to that island. Have those panthers offer more azerite than a typical enemy so players can say "I explored this island and I found this really cool spot! The creatures there offer higher azerite than normal so we should hit that place first!" All of a sudden, the enemy team (either AI or real players depending on the mode) may have the same mindset and, all of a sudden, you find yourself in a battle for control of those enemies so you can reap the rewards.
Since the islands are procedural, you can have different enemies be worth more azerite to create different hotspots. Heck, you could even have that happen multiple times per map! It's not the only solution needed as there needs to be a MASSIVE addition to the type of events that happen on each island. An azerite elemental and an invading force isn't enough. There needs to be a variety of unique events that happen per island based on that island type. Maybe you have to battle an erupting volcano to collect azerite before they are melted away by lava. Maybe there's a pirate fleet that snuck onto the island and is threatening to leave with your azerite so you have to man ships and battle them just off the island's coast to prevent them from leaving with your stash.
Those are just examples of improvements that need to be made to make them more interesting. Give the islands some story, some narrative. Add some game lore to it. Further some of the storylines through the islands themselves. Give us a reason to do them outside of an AP grind every Tuesday.
Here's one of Battle for Azeroth's features that I can't really talk too much about because I'm an Alliance player and at the time of this writing, the Alliance have yet to gain access to a Warfront.
Essentially, a Warfront is a 20-player scenario that you cannot queue for as a guild. 5 players are the limit to how many can queue for a Warfront which, right off the bat, is a disappointment. As one of the expansion's launch features, you'd think that Warfronts would be available starting at launch; however, they didn't appear in the game until a month later when the first raid launched. Horde had control of the Warfront first but even when you got control, you still couldn't do it.
Instead, you had to collect resources and fill a bar before you could access the scenario. The bar filled at a rate equal to your faction's participation. The more people who participated, the faster the bar filled. If this sounds familiar, it should. This was the same mechanic used for The Broken Shore in Patch 7.2 of Legion when you had to turn in resources to gain access to different buildings. Once you complete your progress bar, you do the scenario and you take over Stromgarde Keep in Arathi Highlands, giving you access to a home city, quests, rares, and a world boss that offers Heroic Uldir level gear. While you're in control of the zone, the opposing faction will begin their resource gathering so they can take over Stromgarde Keep and gain access to all of the same features.
While the alternating system seems fair, players have already waited behind a one-month time gate for the feature and now Horde players found themselves behind another week time gate just to do the scenario while The Alliance were stuck behind an additional two week time gate before we could start handing in resources.
The simple solution here would have been to have two Warfronts opened, one for Horde and one for Alliance. This way players could experience the content quicker and then switch, experiencing all-new content a few weeks later. Blizzard did state that there would be multiple Warfronts throughout the expansion and it will get to a point where they would be overlapping so each faction always had something to do but why couldn't have this been the solution right out of the gate? It baffles me as someone who has a degree in Game Design as to how a system like this could be implemented where half of your player base felt alienated and the developers were okay with it.
Finally, we come to the first raid of the expansion: Uldir. If there's one thing Blizzard is (mostly) consistent at, it's creating a memorable experience through its raid content and Uldir is no exception. The bosses are pretty unique and challenging, the raid environment is absolutely gorgeous, and the lore is highly interesting…. If you're a Horde player.
Speaking of faction alienation, the only place Blizzard dropped the ball with Uldir is the fact that if you're an Alliance player, you're given very little to no context as to why we're even going there in the first place. Something about blood trolls, an Old God experiment gone wrong, blah blah blah. As a Horde player, you knew and understood exactly why you needed to go into Uldir and put an end to G'hunn. As an Alliance player, it just feels like "hey look… phat lewtz… let's go". In Legion, both Horde and Alliance knew why we had to go into the Emerald Nightmare to stop Xavius, why we had to go to The Nighthold and kill Gul'dan, why we had to enter the Tomb of Sargeras to stop Kil'jaeden, and why we had to go to Argus and storm Antorus to put an end to Sargeras the The Burning Legion as a whole. Here, not so much.
Again… it baffles me how a development team could create an entirely new expansion, a brand-new raid, and purposely leave half of their player base in the dark about why they need to go there. Yeah… a lot of people, especially high-end raiding guilds like Method, go in there with the intent of killing G'huun on Mythic before anyone else in the world and don't give two squirts of rat piss about the lore but World of Warcraft caters to a wide variety of players and a lot of them DO care about the story and the lore and if those people who care strictly play Alliance, Blizzard didn't really give them much of a reason to care about Uldir from a story perspective.
This was a long one, indeed but overall I feel that Blizzard severely missed the mark with Battle for Azeroth so far. Many people, myself included, feel like this is Legion Patch 7.4 more than a whole-new expansion. Typically, with a new expansion, you're supposed to get brand-new features and abilities which change the way you look at the game and play. Battle for Azeroth did none of that as it felt like the took all of Legion's systems, trimmed what really didn't work, slapped a new coat of paint on it and called it a new expansion.
In fact, by comparison, Battle for Azeroth has fewer features at launch than any previous expansion in World of Warcraft's history. It's really hard to sell someone on a game when you have two main features, one of which was time-gated, with all other "features" being complete rehashes of what you had in the previous expansion.
Again, Battle for Azeroth is just over a month old. We have an 8.1, 8.1.5, 8.2, 8.2.5, 8.3, and an 8.3.5 patch to go through and experience which will add more balance, more tuning, more features, more rewards, and more aspects of gameplay. When Battle for Azeroth is over and we're staring Patch 9.0 in the face, we will truly be able to tell just how good this expansion is. Right now; however, Battle for Azeroth is not a fun expansion and feels extremely lazy on Blizzard's part.
Then again, Blizzard has been casualizing World of Warcraft for quite some time and Battle for Azeroth is no exception. It's quickly becoming a game that is losing my interest as my frustrations with the development team grow more and more with each and every expansion. Battle for Azeroth is really a huge indication that World of Warcraft just isn't for me anymore but my despite my own opinion, it doesn't take away from the fact that the game has problems that are even affecting the audience they are targeting.


Our February children's show is The Sea Show; a quirky and hilarious mix of puppet show, natural history and comedy cabaret created by actor, musician and puppeteer Craig Johnson.
Meet crazy characters like Morwenna the 'beautiful' mermaid, Ruan the reformed seagull and salty seadog Captain Pemburthy, as well as a cast of mischievous sea-squirts, anemones, limpets, crabs and pilchards. Come and celebrate the sea with tall tales, silly slapstick, fantastic facts, live music and songs - unmissable fun for children and adults of all ages!
The Sea Show will take place at 10.30am on Saturday 9 February. Performances last approximately 45 minutes and are suitable for children aged 3+ and their families.
There will be a short, free children's arts and crafts session afterwards for all audiences, no extra ticket or booking required.
Join us this May for a stylish and playful reworking of the Cinderella story featuring incredible puppetry.


Visit RFMA's online Event Calendar to see where RFMA will be in 2019! New events will be added throughout the year. Be sure to read your weekly Dish newsletter or follow RFMA on Facebook, LinkedIn or Twitter to learn where RFMA will be next!
Can't make it to a in-person event?
No matter where you are located, register for RFMA's virtual events to join in on the conversation!
*RFMA events may only be attended by RFMA members. Specific RFMA events may only apply to specific member types.


text:
Teenage Dirtbag - Wheatus
Singles Of The 2000s, Single Covers, Safe For Work
Does anyone ever read any of the trash that is written to go alongside these pieces of cover art? No? Thought so! The format is therefore gonna change to just show the original artwork alongside the remix with a few (a very few) words. Here's Wheatus 2000 single Teenage Dirtbag remixed so that there's a chick leaning against the motor. That alright for you?
view entry ( 3793 views ) | Teenage Dirtbag
Whisper A Prayer - Mica Paris
Album Covers, Albums Of The 1990s, High Heels, Not Safe For Work
Never heard of Mica Paris, or the album Whisper A Prayer? That's probably because you're not English. One of our submitters from England sent this. Apparently Ms Paris is some kind of fashion guru babe on TV who used to be a singer. Apparently we have to say, "Does my bum look big in this". No idea why, but the person who submitted it said it was essential. Those Brits, eccentric lot.
view entry ( 3877 views ) | Whisper A Prayer
Kinky Boots - Patrick MacNee And Honor Blackman
Single Covers, Singles Of The 1960s, High Heels, Safe For Work
This (and tomorrow's remixed album art) were submitted by Harold Binthwaite of England. Apparently, this was a 1960s song by two stars of the Avengers (the British version of Charlie's Angels), Patrick MacNee (Charlie) and Honor Blackman (insert random name of an angel here). Kinky Boots languished in the mists of time until it was made popular on a national radio station in the 1990s. The remix excels in boot-based kinkiness. Gosh, so thrilling, as they say in London.
view entry ( 3633 views ) | Kinky Boots
There It Is - Shalamar
Single Covers, Singles Of The 1980s, Teen, Not Safe For Work
There It Is, opine Shalamar. But what is it, that it is, that is there? Is it the members of the band? The remix gives a different answer to what was lost and has now been found. There it is, says the girl on the left. Of course, says the girl on the right, I knew it was there all the time, I had just temporarily forgotten. This kind of thing happens all the time, but rarely is it captured on camera and used as a remix for some artwork. Flash!
view entry ( 1288 views ) | There It Is
Cha Cha Cha - Pedro Garcia And His Del Prado Orchestra
Albums Released Before 1960, Album Covers, Not Safe For Work, High Heels
An old album from the 1950s but deserving of a remix. The original artwork for Cha Cha Cha by Pedro Garcia And His Del Prado Orchestra features a babe bending over wearing high heels and fishnet stockings. The remix does one thing, and one thing only. It changes the perspective of the viewer on the babe in question. Instead of looking at her in a frontal, upskirt kind of naughty way, we instead see the same stockings and heels clad babe, from a rearward, doggy style kind of naughty way. Ooh la, la!
view entry ( 1381 views ) | Cha Cha Cha
Cheekah Bow Wow (That Computer Song) - Vengaboys
Single Covers, Singles Of The 2000s, Not Safe For Work
Those crazy Dutchmen (and women) the Vengaboys grace the pages of AllBum.Art with their song Cheekah Bow Wow (That Computer Song). The original cover shows what we can only assume to be the aforementioned Cheekah being some kind of robotronic-based vacuum cleaner of some kind or other. The remix shows a babe using a computer, though what she is using it for is very cheekah indeed. Bow wow!
view entry ( 1287 views ) | Cheekah Bow Wow (That Computer Song)
Back To The Shit - Millie Jackson
Albums Of The 1980s, Album Covers, Not Safe For Work
To be completely fair to Millie Jackson, we would score the cover of her album Back To The Shit full marks. On it we see Ms Jackson sitting astride the john, heels in hand, getting back to her defecating. So in that respect, we see the artist who is depicting the title, and hence the top score. The remix would actually score less as it is no longer Ms Jackson in the picture. The only counterbalancing feature is that the new babe on the cover has let her gown fall open. Flash!
view entry ( 1354 views ) | Back To The Shit
The Banner Man - Blue Mink
Singles Of The 1970s, Single Covers, Not Safe For Work
Er? What on this Earth or another does the original cover of The Banner Man by Blue Mink have to do with the title of the song, or the band? As far as we can see, nothing at all. However, they gain one bonus point for having what appears to be a naked babe in a hat on the cover. The remix changes nothing, other than that the babe in question has turned to face the camera, someone has turned up the lighting a little, and the lens has been unblurred. Topper!
view entry ( 1292 views ) | The Banner Man
Upside Down - Jack Johnson
Single Covers, Singles Of The 2000s, High Heels, Outdoors, Not Safe For Work
Being Upside Down is a good theme for a remix and the original cover of Jack Johnson's song of that name is an even better theme for a remix as it is so uniquely awful. It's not just the odd yellow background, but the rather cheesy picture of Mr Johnson playing his guitar in bare feet. On the remix we see a babe who is in exactly the position that Mr Johnson would recommend, being, as she is, with her up side down and her down side up. Curious!
view entry ( 1404 views ) | Upside Down
Happenin' All Over Again - Lonnie Gordon
Single Covers, Singles Of The 1990s, High Heels, Not Safe For Work
What can we say about the cover of the Lonnie Gordon disco dance classic Happenin' All Over Again? Well, it's red. And it features Ms Gordon bending down with her legs apart. Now that's dangerous territory for a remix and indeed the remix pushes many of the boundaries that we, here at AllBum.Art like to set. Which leads to copious use of the 'blur' button on the remix which shows a different babe, in a similar pose, but with less clothes. Smear!
view entry ( 1307 views ) | Happenin' All Over Again
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Vol. 15 | Issue 1
Food Service unveils new interactive menus, mobile app
Marshalltown Schools has a new menu system for students and families, including a free mobile app.
Lynn Large, food service director, told the board about Nutrislice, a service providing detailed, interactive menus to Marshalltown families. By clicking on "Menus" from the district website visitors can choose the building and type of menu they want to see (breakfast, lunch, gluten-free, etc.) Each menu item includes a photo, description, and nutritional information.
The free app, called School Lunch by Nutrislice, is available in the Apple App Store for iPhones and in Google Play for Android phones. The smartphone app shows each day's menu, including pictures and descriptions of the foods. It also lists nutritional information for each food and makes finding common allergens simple.
The menus are in use now and available by visiting the district website and clicking "Menus" or by visiting http://marshalltown.nutrislice.com/
Elementary handbooks approved
The Board approved updated elementary school handbooks Monday. The handbooks are available in English and Spanish under Parent Resources and on the home page of each elementary school website.
Board reviews Management Fund
The Board reviewed the District Management Fund Monday evening in preparation for discussion about the Voluntary Early Retirement Incentive.
Marshalltown Schools tax $1.2 million annually for the Management Fund, which supports retiree insurance, worker's compensation, and property/casualty insurance. The fund balance at the end of FY2014 was $1.583 million, about the same as the end of FY2013.
Kevin Posekany, director of business operations, said the stable balance shows the district is breaking even with the Management Fund. Each year some retirees come off of the Management Fund books as they reach the end of their early retirement incentive. This fiscal year about 18 retirees will come off of district-paid insurance at some point.
After discussing the fund, the Board looked at the Voluntary Early Retirement Incentive. Dr. Marvin Wade, superintendent of schools, told the Board the administration is recommending the Board reinstate early retirement for 2014-2015. The Board has until Sept. 30 to active the program for this year.
Dr. Marvin Wade, Superintendent of Schools
Monday evening, the Board of Education discussed reactivation of the District's Voluntary Early Retirement Incentive Program for the 2014-2015 school year. The proposal was well-received and it is anticipated that action will be taken to reactivate the program during the September 8, 2014 board meeting.
If reactivated, eligible Licensed Teaching Staff, Twelve-Month Secretaries, and Administrators would have until February 2, 2015 to notify the Superintendent of their intent to participate in voluntary early retirement at the end of the current 2014-2015 fiscal year.
Individuals wanting to learn more about the Voluntary Early Retirement Incentive Program are encouraged to review these policies on the District website. At the website, merely click on "School Board" and go to links at the bottom of the page for the 300 Series and the 400 Series – where these policies are located.
Scope of work approved for preschool playground projects
The Board approved scope of work and schedules for preschool playgrounds at District elementary schools. Bids are scheduled for receipt Sept. 4, with contract award tentatively scheduled Sept. 8.
Facilities ready for start of school year
"It's been a very short summer," Pat Hemming, building operations supervisor, told the Board Monday. "The buildings are ready. The classrooms are ready."
Hemming said 65 people helped clean more than 900,000 square feet this summer, working around construction projects and elementary summer programming that went through June and July.
"I'm very proud of them," he said.
Rick Simpson, director of buildings and grounds, detailed some of the construction projects completed this summer, as well as looked at other projects on the horizon, including the preschool playgrounds (scope of work approved Monday).
By Sherm Welker, Board President
As a matter of public procedures and the rules we as a Board must follow, any item that we discuss must be advertised on our published agenda and we must hold our meeting in public. It follows this procedure that any issue brought before the Board in our "Public Comments" segment are not previously advertised or posted as an agenda item. We can't make any comment to these issues as it would violate the rules to take up a matter that was not previously advertised and listed on our approved agenda.
We have had several issues brought to our Board as part of public comment in recent months. We can not publically comment on items not listed on our agenda and further, any items that involve staff or students rights to privacy. We appreciate those that have called and commented on their understanding of the "facts" as presented in our public meeting. However, the District and Board policy is to be very prudent to protect privacy and follow the policies and procedures that are established to work through issues.
We welcome comments from the public as we want to hear from those that are concerned about our District, our policies, and our work. It is a basic part of America that taxpayers have a stake in our District, their concerns matter and will be heard.
604.6/604.6R Competent Private Instruction, based on IASB policy, bring back for second reading
605.2 Accountability Test Integrity/Test Preparation, mark reviewed.
605.3 Student Promotion – Retention, mark reviewed.
605.4/605.4R Graduation Requirements – Graduation Ceremonies, mark reviewed.
605.5 Education Records, bring back for first reading.
605.8 Media Centers, mark reviewed.
605.9 Physical Education, mark reviewed.
PERSONNEL – Click here.


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Community Right to Bid: Step 1
Identifying Assets of Community Value
The Community Right To Bid is a new tool designed to help communities safeguard the property assets they value. The Localism Act (2011) introduced the 'Community Right to Bid', and placed a duty upon local authorities in England to maintain a list of assets of community value.
Step 2 will help you to identify assets of community value so that you can nominate them for listing, then proceed to exercise your right to bid in full – see: Steps 3-7.
Please note: the Community Right to Bid does not replace those other tools available to communities that are keen to own and manage property assets. Community Asset Transfer – that is transferring publicly owned assets to the community at a discount to market value – remains a standard, important and preferable route through which to secure the community ownership of assets.
Other important tools available to communities keen to take control of land and buildings in their local area include:
Establishing Meanwhile Use in empty properties – that is, short-term or interim use. For example, an empty shop can become a temporary art gallery, community space or enterprise centre.
The Community Right to Reclaim Land – where a publicly owned property asset is underused, a request can be made for that land or building to be disposed of to afford people the opportunity to acquire and transform it.
Compulsory Purchase for Communities – compulsory purchase powers may be used by a local authority where a voluntary or community organisation wishes to bring a privately owned property asset into community use.
How Assets of Community Value are identified
A building or other land is an asset of community value if its main use is or has recently been to "further the social wellbeing or social interests of the local community" and it could do so in the future.
The Act defines assets of community value in terms of:
Their PURPOSE – the purpose to which they are being or have been used, rather than the nature of the asset itself – i.e. not in terms of any historical or architectural merit or location or rarity value.
Their LOCATION – local authorities will handle assets of community value nominations within their local area – they are expected to co-operate with the neighbouring authority if the site of an asset of community value crosses the boundary.
Their OWNERSHIP – all ownership, whether publicly or privately owned.
The diagram below summarises the overall definition of what constitutes an 'asset of community value'. If you nominate an asset and it meets the definition, the local authority must list it.
Is a building or other land an asset of community value?
Which uses might 'further the social wellbeing or social interests of the local community'?
The Localism Act notes that 'social interests' include 'cultural, recreational and sporting interests', but 'social wellbeing' actually applies to a much broader set of activities. So, although this is not an exhaustive list, examples of assets of community value might include:
Education, health and well-being or community safety – for example:
Nurseries and schools
Health centres, surgeries and hospitals
Day care centres, residential care homes NB There are exemptions in the areas of nurseries, schools, health centres, surgeries and hospitals.
Sports, recreation and culture – for example:
Woodlands, parks and open green spaces
Sports and leisure centres
Swimming pools/lidos
Museums, heritage sites
Community services – for example:
Local democracy – for example:
Town, civic and guild halls
Any economic use which also provides an important local social benefit – in these cases, it is the social value of the business that counts, not just the nature of the business – this could include:
Village shops
Markets.
Which assets are excluded from being listed?
Some land and property is exempted from the provisions, including:
Land and buildings which are primarily residential in purpose, including associated gardens
Licensed (and some unlicensed) caravan sites
Operational land owned by 'statutory undertakers' as defined in s263 Town & Country Planning Act 1990 – which is organisations like the Post Office, Civil Aviation Authority, Transport providers, utilities.
In addition, the Act excludes:
The listing of assets which might have a community value in the future. Assets are deemed to be of community value only if they have community value presently or in the recent past
The listing of assets which are occasionally used for the social benefit of a local community, but which are not primarily used for this purpose – e.g. a space used for an annual village fete.
Once you have mapped community assets in your area, and identified those which meet the legal definition of an asset of community value, you should agree which land and buildings the community might wish to acquire in the future using the Right to Bid. You can then proceed to nominate them.
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